One of the elements of rehearsal that has struck me so far is the feeling of trust and respect that is inherent in our process. Richard III is different from the sort of general “trust” that many casts have – which resembles something more like charging ahead blindly despite fear of judgment than it does true support. Much of group came into rehearsals straight from working together on our Bend Shakespeare in the Park show, Much Ado About Nothing. While a rather loosey-goosey rehearsal process, Much Ado was a great bonding experience for the company because we have a lot of fun, and because we are very much left to our own devices to ensure that our text, voice and movement work was where it needed to be (due to time constraints in rehearsals). We had to trust and embrace that what others were bringing to the table was their best work. While others in the cast of Richard III did not participate in Much Ado, many of them have worked previously with Northwest Classical, and have good friendships and working relationships established. For the few newcomers, we hope they’re feeling welcomed too.
The other major component that makes Richard III such a trust-filled environment is our director, Barry Kyle. He treats the acting company with more respect than any other director I have ever worked with. After a scene is over, Barry says, “Thank you,” with such sincere gratitude for the work and risks that have just been performed, that it makes you immediately want to do it again, and better. Barry was with us in Bend, and witnessed how strong a company bond we have. He has commented on this frequently, and has used our work as an ensemble to drive our way of approaching the play, developing work with masks and choral movement that will help us portray battles and large crowds in the limited space of the Shoebox. Essentially, our ensemble work enables us to strongly delve into the use of metaphor because our personal relationships are strong enough to touch something deeper than a working relationship.
Barry asks our opinions and welcomes our frank answers. I was recently describing to someone outside the theater how our production is taking shape, and describing the mix of modern and classical costumes, props, and styles. We were specifically talking about if we should use crowns in a modern production, set in contemporary America. My conversation partner seemed appalled that these things hadn’t been sorted out by the director ahead of time. But I wasn’t scared at all. I was honored that Barry had waited to work with us to draw conclusions about what elements were appropriate to our production. In other words, because he trusted us to bring something to the table, we in turn, trust his thoughtfulness, and must honor his final decisions after considering all the options.
This amount of mutual respect has built space for the performers to take risks on stage; to become emotional, to turn their bodies into ferocious animals; to learn to become killers or to face death. I hope the results will be a play filled with true reactions and experiences, since the performers feel safe to “go there.” Barry is certainly challenging me to let loose, to let my emotional and mental state derail to a point that I am scared to go. I have faith that with his support and that of my ensemble, that I’ll be there by opening night.
-Brenan Dwyer (Lady Anne)